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John Powell's SOLO: A STAR WARS STORY (2018) - Deluxe Edition release coming November 2020


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So, an inevitable Star Wars rescored by Powell video:

 

00:00-01:58:

       Blasting Off - edited Corellia Chase+Meet Han

01:58-04:10

       The Battle of Yavin - Into the Maw heavily edited at the end

04:10-06:52 

       The Ewok Battle - Break In (no edits, it happened to line up like this)

06:52-07:26

       Into the Death Star - edited Adventures of Han

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This is a pretty awesome news , THE DELUXE EDITION!!    

Han (Hero)   "Meet Han" 0:10 "Corellia Chase" 0:05; 0:26; 1:33 "Flying with Chewie" 1:34 "Train Heist" 4:10 "Marauders Arrive" 1:28 "Is This Seat Taken?" 0:10; 0:25;

2 hours ago, Disco Stu said:

Wow!  Leigh Phillips for the win, as always.

 

 

 

I don't get it. Is that his transcription of the score? Or was he involved in the orchestration of the score...?

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My god, Into the maw has reached to the top for the best track of this score

 

When the chaotic xylophone (?) bit kicks in (and onward), it becomes GLORIOUS

 

I can feel the real struggle of the orchestra player. They were truly tested to their limit!

And the music, albeit chaotic, you can easily feel the rhythm, the passion, and thats what i love the most about this cue

 

Well my question, is there any cue from any composer in which the orchestra is truly pushed to the limit? I think.... none

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Phew!  Finally caught up on this thread.

 

So this is the chronological order?

 

01 02 Meet Han (2:20)
02 03 Corellia Chase (3:34)
03 04 Spaceport (4:07)
04 05 Flying with Chewie (3:30)
05 06 Train Heist (4:48)
06 07 Marauders Arrive (5:14)
07 08 Chicken in the Pot (2:09)
08 09 Is This Seat Taken? (2:36)
09 10 L3 & Millennium Falcon (3:16)
10 11 Lando's Closet (2:13)
11 12 Mine Mission (4:10)
12 13 Break Out (6:15)

13 15 Reminiscence Therapy (6:13)
14 16 Into the Maw (4:49)
15 14A [0:00-1:51] The Good Guy  (1:51)
16 17 Savareen Stand-Off (4:26)

17 14B [1:51-end] "We'll Win" (3:33)
18 19 Testing Allegiance (4:21)
19 18 Good Thing You Were Listening (2:08)
20 20 Dice & Roll (1:54)

 

Place wherever you like:

01 The Adventures of Han (3:49)
 

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Maybe he thought the big Crimson Dawn fanfare was a stronger ending than the tragic Love Theme? I dunno, Listening would give you time to wind down from Allegiance before jumping to the finale.

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2 minutes ago, aescalle said:

Is someone paid attention to the End Credis suite?

What are the included themes?

 

23 hours ago, GiacchinoCues said:

So just to clarify, the end credits is comprised of portions of:

 

Dice & Roll into Star Wars main theme

Reminiscence Therapy

Flying With Chewie

Lando’s Closet

Mine Mission

Corellia Chase

Flying With Chewie (again)

 

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I didn't really care for the score the first time I heard it in film.....but the more I listen the more this score is really growing on me. Especially Meet Han, Flying With Chewie, Lando's Closet, Savareen Standoff, and Good thing you were listening. It's a very enjoyable little score. 

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6 hours ago, Not Mr. Big said:

I'm so glad we live in the timeline where we got the Williams/Powell Solo score as opposed to the one with the Giacchino solo score.  

Luckily for you I don't think Giacchino was free anyway to do Solo, nor was he asked. So no need to lose any sleep...

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1 minute ago, crumbs said:

Fun little reference I finally correlated; knew it was from one of Williams' scores:

 

 

Guess The Last Jedi was fresh in Powell's mind during writing. I wonder if he got to listen to the raw recording sessions?

That trumpet do-Ditty is in the Williams track too.  There are also a ton a similar sounding "trumpet stabs" sprinkled all over TLJ too.

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9 hours ago, Arpy said:

I've never held any real contempt for a score or composer the way you do with Giacchino. 

 

I don’t even dislike him that much but it’s fun to watch the fanboys cry when anyone says anything mean about him. 

 

He’s not a bad composer he’s just an average and entirely forgettable one and generates far too much praise for his output from some quarters. 

 

He he does not deserve to be scoring Star Wars films.

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Oh dear, I often encounter those types of fans who think Giacchino soiled Star Wars, their precious fandom, just the same as the groan of the entitled few who thought Powell and his supposed 'Zimmerisms' had no business in scoring a Star Wars film. Well, okay, who the fuck do you think you are? 

 

The fact Giacchino generates praise isn't some anomalous feat, or the fact that you find his music forgettable is some indication that he's an 'average' composer. And no, whilst I don't cry at the fact that you (in particular and without fail) find every opportunity to shit on him, nor do I lose any sleep over it, I actually feel that whilst I'm on here and see this growing trend that I'm not going to simply stay quiet. 

 

I mean, before this thread existed who didn't know the general consensus on what people here thought about Giacchino and his score for Rogue One? Isn't it the case that there is more anti-Giacchino sentiment here than those who praise him?

 

31 minutes ago, Bilbo said:

 

I don’t even dislike him that much but it’s fun to watch the fanboys cry when anyone says anything mean about him. 

 

He’s not a bad composer he’s just an average and entirely forgettable one and generates far too much praise for his output from some quarters. 

 

He he does not deserve to be scoring Star Wars films.

 

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I've had a few days of absorbing this score, and my thoughts are:

  • I love JW's theme - hummable and memorable. The problem this gives me is that as it's all over the score, it feels like Powell had the opportunity removed of creating a score with his own theme interwoven.
  • I like everything about The Adventures of Han *except* the false ending. I don't see why JW did that.
  • Powell's themes are really good and used nicely throughout.
  • I was initially excited about Reminiscence Therapy but the problem is that it jumps way too quickly between JW quotes and JP's material. Just constant ping-ponging between them and it never lets any idea breathe. I think Powell should've avoided including the crowd-pleasing quotes and just written an original cue.
  • Barely noticing Powell's percussion. It doesn't ruin anything for me personally.
  • Chicken in the Pot: I have no idea what this is and it does nothing for me. Source music?

 

 

I didn't initially like the Marauders' theme (the choir is an unusual approach) but hearing it in low key mode later on works rather well. It's tracks like Savareen Stand-Off where for me Powell's approach is more to my taste than what JW would've done. This cue is a million times more interesting than much of AotC's underscore.

 

Overall I think he's done a way better job than Giacchino, although under considerably easier conditions.

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1 hour ago, Arpy said:

Oh dear, I often encounter those types of fans who think Giacchino soiled Star Wars, their precious fandom, just the same as the groan of the entitled few who thought Powell and his supposed 'Zimmerisms' had no business in scoring a Star Wars film. Well, okay, who the fuck do you think you are? 

 

The fact Giacchino generates praise isn't some anomalous feat, or the fact that you find his music forgettable is some indication that he's an 'average' composer. And no, whilst I don't cry at the fact that you (in particular and without fail) find every opportunity to shit on him, nor do I lose any sleep over it, I actually feel that whilst I'm on here and see this growing trend that I'm not going to simply stay quiet. 

 

I mean, before this thread existed who didn't know the general consensus on what people here thought about Giacchino and his score for Rogue One? Isn't it the case that there is more anti-Giacchino sentiment here than those who praise him?

 

 

 

I was not one bit worried about Powell. I knew he’d do a good job. Because he’s a good composer. 

 

 

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2 hours ago, Richard Penna said:

Chicken in the Pot: I have no idea what this is and it does nothing for me. Source music?

 

It's the music that plays when they first meet with Vos on his yacht. I don't like it either. 

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4 hours ago, Damien F said:

 

Does the love theme remind anyone else of We May Never Love Like This Again from The Towering Inferno?

To me, it is more in spirit with the main melody of Williams's Elegy for Cello and Orchestra.

Just reminds me of it, that's all.

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Giacchino: Well golly gee whiz, doing Rogue One sure was a hoot! Can't wait to do another Star Wars picture!

 

Williams: Sorry, Mike...I'm seeing someone else. I think he's better suited for Star Wars than you are.

 

Giacchino: N-No...John, you..y-you can't mean that! 

 

Williams: I mean, we have the same first name! It's clearly meant to be! 

 

Giacchino: I thought WE were meant to be! I'M the next John Williams! ME! MMMEEEE!

 

Williams: You can still do Jurassic, if you'd like.

 

Trevorrow (signing a contract with John Powell): Er, actually, about that...

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I saw it again today and the score sounded better this time, as in not as buried by sound effects other than the train sequence. 

 

I still don't know Powell's themes. I couldn't tell you what Chewie's or the love theme sound like. 

 

Where exactly in the film do tracks 17-19 from the soundtrack occur?  I never heard the piano from Testing Allegiances. 

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On 5/25/2018 at 12:46 PM, leeallen01 said:

And my overall desire to have a Composer do the film themselves and not inherit the key aspects of a score from another. Whether it's the master or not.

 

These scores don't just exist in a vacuum. They complement films which are part of a larger universe and that universe has already been musically established.

 

It would be odd indeed for a STAR WARS score to be completely divorced from the larger universe to which it belongs. It's like questioning why every movie has to have stormtroopers in it, or the Force, or the Empire. The answer is obvious: because it's STAR WARS.

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The sequence from 1:48 all the way to 2:31 in "Mine Mission" is just gorgeous. The most elegant passage of music Star Wars has gotten since The Phantom Menace (in Anakin Is Free). The gentle rhythm, the sublime contrast between the Holst-esque section leading into Chewy's theme. Just wonderful. 

 

It punches above even the most beautiful sections of "The Scavenger," which remains the best new Star Wars track. 

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